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So you’ve decided to attend Lollapalooza 2018. Congratulations! You have made a smart investment in your musical future. At four days and 170+ artists however, there’s a whole lot to digest. You can’t see and do everything no matter how hard you try, so choices need to be made. Some choices are easier than others, but if you’re looking for a bit of guidance, allow me to play Pied Piper and point you in the direction of some bands and artists to see over the course of the weekend. Part of the goal here is to point out some lesser known or up-and-coming artists you might not be familiar with yet, but who are worth the effort to try and see (even if they perform early in the day). There are a few veterans sprinkled in for good measure as well, but no headliners because you can presumably figure those out on your own. Five recommendations per day with minimal time conflicts between them, so if you hustle around Grant Park here are 20 performances that will turn your festival experience from good to great. Join me after the jump and we’ll get started!

Join me after the jump for a collection of photos that I took on Day 2 (Saturday) of this year’s Pitchfork Music Festival. Photos are arranged by set time. They are also available in higher resolution on Facebook. Check out my full recap of the day, as well as all the rest of the coverage, by going here.

What’s a summer music festival in Chicago without a little rain? Or a lot of rain? This year marked the first time in its 10 year history that Pitchfork was forced to evacuate the grounds due to severe weather. A similar incident happened at Lollapalooza a couple years back. Unlike that event however, organizers waited until seemingly the last minute before pulling the plug. That’s not intended to say that they did anything wrong, but rather tried as hard as they could to keep things going until they simply couldn’t anymore due to safety concerns. They made the announcement to please exit the park, and then less than two minutes later a massive, bone-soaking rain poured down complete with a lightning show for the ages. People gasped at the sky lit up while also running with panic due to the extremely intense downpour. Of course minutes after evacuating the rain stopped and about 30 minutes later Union Park reopened and the day continued. The grounds were a bit muddy in spots for the rest of the day, as one might expect, but overall the schedule wasn’t disrupted much and the situation was handled with relative professionalism. But what about the music? Read on past the jump, and I’ll share those details with you, dear reader!

Saturday was the first day of this year’s Pitchfork Music Festival to sell out. When you take a close look at the daily lineups, it makes perfect sense as to why. While the entire thing is pretty stacked, Saturday in particular looks extra heavy on quality. This is both a good and a bad thing. On the one hand, you get to see all this great music in one day, meaning if you don’t have a ticket for the entire weekend it seems like the best deal for your time and money. On the other hand, you can’t see everything, leading to a nasty pile-up of conflicts that can be problematic. If you’re concerned about that, and you should be, allow me to offer some help and guidance to make the most of your Saturday at Pitchfork. Join me after the jump for the hour-by-hour breakdown of who’s playing when, complete with recommendations on what you can’t/shouldn’t miss.

If you missed my previous Pitchfork Music Festival 2015 posts, go here to hear/see/download songs from every artist on this year’s lineup. If you’ll be at Union Park on Friday, you may want to look over my preview guide for that day by going here.

As we reach the halfway point in our countdown, let me say a few quick words about D’Angelo. As you’ve hopefully heard, he released his long-awaited second album Black Messiah a couple of weeks ago, during a time when many in the music world had already released their Top Albums of 2014 lists, or at the very least were on the verge of doing so. The Top 50 Albums list that we’re counting down right now was actually all locked in during the first week of December. Really it’s just the writing that’s holding up everything being published in a more immediate fashion. So like those other music media outlets, I’m officially ruling that Black Messiah missed the unofficial cut off date and will not be found on this list. If you’ll recall, a similar thing happened with Beyonce last year, as her self-titled album came out a couple of weeks before Christmas. That turned out to be one of the best albums of 2013, to the point where I almost felt it’d be reasonable to include it on this year’s list since it missed out last year. Actually that D’Angelo record is one of 2014’s best as well, which also makes its lack of representation here just a touch sad. So I’ll advocate for it right now. Please check it out and pick up a copy. Of course I’ll also recommend that you pick up copies of all the albums on this Top 50 list. In case you missed the previous entries, here once again are links to #50-41 and #40-31. We’re continuing to chug along here, and I’m now pleased to present the next segment, #30-21!

This Top 50 Songs list is not organized in any other way than by perceived order of excellence, so when you have a look at the set of 10 below, you may be surprised at how thematically related almost all of them are to one another. It was a total fluke things worked out like that, and in fact I didn’t even notice myself until writing up this introduction. The overarching theme is love, whether you’re falling into it, out of it, or somewhere in between, which is a subject matter as old as music itself. I just looked it up, and apparently about 60% of all songs written today are about love, so I guess the similarities aren’t all that shocking after all. Anyways, let’s get right into it, shall we? This freight train keeps rolling on with #40-31 of the Top 50 Songs of 2014! Oh, and in case you missed it, here’s #50-41.

After the first day of Lollapalooza, I was in pretty rough shape. Not following my own advice, I didn’t sit down for about 12 hours straight, and that’s definitely not a pleasant experience for the human body. So I made it a point on Saturday to be smarter and look out for my own well being a little bit more. After all, I needed to power through the full three days. And so the chronicle continues, with a recap of all the music that I saw on Saturday:

Following Friday’s lengthy fiasco that took about 45 minutes to get into the gates due to heavy security, Saturday was light by comparison. This time it only took 15 minutes, either because I went to a different gate or because security wasn’t being as thorough. Either way, it was a benefit, and one that allowed me to see the final 10 minutes of Benjamin Booker‘s set. And oh what a final 10 minutes they were. Having never seen Booker before and only being familiar with a couple of his songs (his debut album comes out in about two weeks), I was immediately struck by his passion. He positively attacked the final three songs of his set, singing his heart out with that sandpaper voice of his, and playing guitar riffs like his life depended on it. Rarely do I witness a live show where I repeat the word “Wow” over and over again just completely impressed by everything happening on stage, but this was one of those times. At the very end of his set, Booker removed his guitar and proceeded to smash it on stage, Pete Townshend style. I’m a total sucker for moves like that, which in turn immediately made me want to declare the set one of the festival’s very best. For all I know the first 20 minutes of his set could have been a total trainwreck, but somehow I sincerely doubt they were. At the very least, Booker has quickly become someone to watch very closely.

From one guitar virtuoso to three, following up Benjamin Booker’s set I walked to the nearby Palladia Stage for the start of Parquet Courts‘ set. I saw them live for the first time last summer, and went in with such low expectations that I wound up being completely shocked by their wild attack dog style of performing. They’re pretty unassuming guys who you might think are slackers with sloppy playing styles, but the delightful surprise is that they’re none of those things. When they get going on high energy numbers like “Borrowed Time,” not only are they pushing forward like there’s something to prove, but know all the right ways to add frills like excessive distortion to push things beyond what you might hear on record. The set list was ordered a bit like a rollercoaster or a wave, building in speed and vigor until a peak is reached, then plateauing out for some slower cuts before racing towards the finish again on the downslope. The band does it all very well, though the quicker numbers that turn the crowd into a frenzied mosh pit can feel particularly special.

Kate Nash has become an increasingly reliable live act over the last few years, thanks in no small part to her embrace of louder and more visceral rock sounds. Nobody is going to confuse her with a hardcore punk or heavier alt-rock artist, though she does seem to be taking notes from the riot grrrl movement and innovative bands like Bikini Kill or The Runaways. She may have had multi-colored balloons all over the stage and she and her band may have worn dresses, but they made it very clear that rock and roll was priority number one. Along the way, Nash screamed, wailed, shredded and ran around the edges of the stage barricades giving the fans a more up-close and personal thrill. She brought a bunch more fans up on stage to dance and have fun for a few songs as well. And towards the end, she encouraged all the females in the audience to pick an instrument and start playing, because the music industry needs more women. If those women turn out anything like Nash, I completely agree.

I wasn’t particularly psyched about seeing the John Butler Trio perform, but I do enjoy a handful of their songs and decided it might be enjoyable if I were to sit down somewhere and relax while listening to their set. That turned out to be a wise decision, as my legs needed rest and my body needed shade. While I did stand and watch a couple of songs, the band wasn’t really doing much on stage so sitting down and listening didn’t change much. Ultimately what I heard and partly saw was a halfway decent, if unremarkable set. They performed the songs almost exactly as they were on record, and sounded pretty good doing so. I only wound up sticking around for about half of their set, as I was soon being beckoned by friends to join them on the other side of the park.

On the other side of the park, Fitz & the Tantrums were performing on the big stage. They’ve become a much bigger, more popular band over the last couple of years thanks to their most recent record, which has spawned at least two hit singles so far. The band treated their set like a gigantic party, keeping the energy very high and encouraging the crowd to participate by clapping or singing along to various parts. It seemed like a show I’d seen before, done by better bands who didn’t seem like they were trying as hard. Shortly after their set, I tweeted that Fitz & the Tantrums are the Dave Matthews Band of funk and soul these days. It’s a statement I stand by, as they had a huge crowd of devoted fans, but very little of the band’s performance could be described as much more than hollow platitudes. A friend of mine would tell me later that day it was her favorite set, and I totally understand why some people might feel that way. In many respects they’ve had the proverbial wool pulled over their eyes (and ears).

Manchester Orchestra is a band that I was passionate about for a hot minute around seven years ago, and haven’t thought about much since. They’ve continued releasing a steady stream of music, and have even performed at Lollapalooza a few times, though I’ve only seen them live once before at a non-festival show back in 2007. As I recall, they put on a pretty decent show back then. The Manchester Orchestra of 2014 still puts on a pretty good, possibly even great show. In a world where the genre of alternative rock has shifted in meaning a bit, they remain one of the true holdouts by still unleashing pummeling guitar work and vocals that require a good scream every now and then. Sure, there are other bands doing the same thing, but very few of them get late afternoon slots at a massive music festival like this one. I suppose what helps separate this band from the pack is their passion and precision. They appear to love what they do, and it shows. Their crowd wasn’t very large – probably one of the smaller ones of the day – but those that stuck around hopefully walked away with a greater appreciation for Manchester Orchestra than they had going in. I know that I did.

Unlike Fitz & the Tantrums’ set from an hour earlier, Foster the People appear to know the secret formula to an exciting live show. What is that secret exactly? I’m not entirely sure – earnestness, maybe? Whatever it was, it worked. The reason I’m comparing Fitz & Foster is partly because they were on the same stage, but also partly because I like both bands almost equally and view them as more hit single oriented than brilliant full album oriented. Whereas Fitz & the Tantrums may have been trying a little too hard to engage with the crowd during their Lolla set, Foster the People found the right vibe, played it cool and stuck with it. Singles were spread generously through the half of the set that I saw, and Mark Foster danced around the stage like he was just there to have a good time and play music for some fans who just happened to number in the thousands. Though I was having a good time, about 30 minutes in I decided it was time to venture back to the other side of the park.

Having seen Spoon headline an aftershow on Friday night, I wasn’t too concerned about seeing their full festival set on Saturday. They’re such a great live band though I wanted to see at least a little bit of it. To my partial surprise and actual excitement, the portion of Spoon’s set that I did wind up seeing was largely different than what I’d seen the night before. Songs like “Jonathon Fisk” and “My Mathematical Mind” are favorites I was hoping to hear, and suddenly my wish was granted. Beyond that, it was a pretty strong show overall. Maybe not quite as amazing as their full set in a smaller venue, but still great. My singular gripe with Spoon at the moment concerns their hit single “The Underdog,” which they’re obliged to play at every show from here throughout eternity. They’ve done away with any actual horns (which is an essential part of the track) and replaced them with artificial keyboard horns. It makes the track sound dinky compared to the muscular recorded version. If they could get just one band member to play trumpet for that song it’d make a world of difference. While I loved Spoon’s set, it’s worth noting a friend told me he was disappointed, claiming they “sound much rawer on record.”

If there was one set on Saturday I was most excited for, Jenny Lewis‘ would probably be it. I’ve been a fan of hers for many years, but had never seen her perform solo until now. It was a long time coming, and ultimately a delight. She didn’t attract a huge crowd thanks to her time slot facing off against The Head and The Heart along with the beginning of Outkast, but it made those of us who were there feel that we were witnessing something a little more special and intimate. About half of her set focused on the new album The Voyager, and the rest pulled from her previous two solo efforts along with a couple of tracks from the Rilo Kiley catalog. Dressed in a lovely and colorful airbrushed suit and with her now signature airbrushed acoustic guitar, people danced and sang along for the full 45 minute duration. What more could you ask for?

Part of me had serious gripes about going to see Outkast. I love most of their records, but this whole reunion thing is essentially a huge cash-in, and they perform the exact same set list at every single show. The sheer lack of spontaneity and the clear dislike that Andre 3000 and Big Boi share towards one another have left me apathetic about Outkast. Yet with a 30 minute window between the end of Jenny Lewis’ set and the start of Cut Copy’s, I decided it might be nice to see the hip hop duo do at least a couple of songs. That side of the park had an absolutely massive crowd that was probably the biggest all weekend. People were shouting and rapping/singing along with their favorite tracks the whole time, which I’m sure was great for them but served as a distraction. In the 20 minutes I spent watching the set from very far away, I got to hear “Ms. Jackson” set to Soldier Field fireworks, plus “The Way You Move,” among other things. It was okay, and then I left.

Officially closing out my night would be Cut Copy, who were performing on the small Grove stage sandwiched in between Calvin Harris and Outkast. There was so much noise coming from those two big stages, you couldn’t really hear Cut Copy until you got pretty close by. But wow, what a great set. Over the course of an hour, they plowed through almost all the highlights in their catalog, including old favorites like “Hearts on Fire,” and new favorites like “We Are Explorers.” A decent sized crowd danced like crazy for the duration, and the band peppered their performance with some really eye popping visuals that only enhanced the overall experience. They closed things out with “Lights and Music,” and everyone went absolutely nuts. My body may have been extremely tired from spending all day on my feet at a music festival, but suddenly I forgot about all of it and just wanted to move my body. When it was all over, the crowd chanted for one more song, and for a brief minute it seemed like the band might come back out and oblige. Sadly, it was 10 p.m. and the noise curfew was officially in effect so nothing happened. I exited Grant Park on a serious high, and primed to do it all again on Sunday.

Here’s a selection of photos that I took during Day 2 of this year’s Pitchfork Music Festival. Click past the jump for photos of Belle & Sebastian, Solange, The Breeders, Savages, …And You Will Know Us By the Trail of Dead, Phosphorescent, Ryan Hemsworth, Parquet Courts and Metz. Check out more photos, day-by-day recaps, and a whole lot of other stuff related to the 2013 Pitchfork Music Festival by clicking here.

I’m pleased to be wrapping up this week-long adventure into coverage of the 2013 Pitchfork Music Festival with a quick look back at the weekend that was. Having attended the festival for the last few years, you really get used to how things are run and where you need to go for everything from water to food to restrooms. So as you return in a sense it’s like coming home, and that’s comforting. I never once felt out of my element or like I had no idea what I was doing over the three days. Of course I didn’t quite see everything I wanted to see and hear everything I wanted to hear thanks to traffic delays and one too many hits of the snooze button, but what I missed was miniscule compared to what I saw. Hopefully you’ve read all about those adventures in my daily recaps (Friday, Saturday, Sunday). That should give you a pretty good idea of the best and worst of the music side of things this year. But just for fun, I put together a little list of superlatives, helping to highlight some of my favorite and least favorite musical treats from the weekend. Check that out:

Most surprising set: Killer MikeMost disappointing set: Yo La TengoSet that best lived Up to the hype: SavagesBand that sounded better live than on record: Parquet CourtsMost openly fun set: SolangeMost likely controlled the weather during their set: BjorkSet that proved punk rock is alive and well: MetzVeteran act that still has “it”: WireVeteran act that has lost “it”: The BreedersBand whose set would have been far more popular in a different decade: ChairliftBand that felt so right in the middle of a sunny afternoon: PhosphorescentQuietest set (artist + crowd): Joanna NewsomFunniest set: Mac DeMarcoMost gratuitous use of the word “SWAG”: Lil BFlashiest performance with the least amount of genuine substance: M.I.A.Most pathetic attempt to attract attention: Foxygen

Outside of those superlatives, I want to talk for a brief minute about how things went overall. Since we’re on the topic of music, let me say a few words about this year’s lineup. To me, it felt just a little bit weaker than in the last few years, though all of the headliners were certainly nothing to sneeze at. Perhaps that’s where most of the budget went this year. I suspect it was telling that unlike the last couple years, the festival wasn’t a total sell out this year. Sunday was sold out, most likely due to obsessive R. Kelly fans who camped out at the Green stage for much of the day just waiting for him. But Friday and Saturday didn’t sell out, as far as I’m aware. I did keep hearing that there were a “very limited number” of tickets left for Friday, so maybe that eventually sold out too. When I look at it, I like most of the artists on the lineup for this year, but I’m not overly passionate about a lot of them. It made for another fine festival overall and I’m glad I saw what I did, but for whatever reason it sometimes felt like something was missing. Not a whole lot of artists really jumped out and grabbed me by the ears, so maybe that’s what it was. If I were put in charge of naming one act each day that was my favorite, the list would be the following: Friday – Bjork, Saturday – Savages, Sunday – Killer Mike. Of all the days, I’d classify Friday as my least favorite, primarily because many of the artists that performed that day were either relatively bland (Woods, Mikal Cronin) or didn’t quite feel like they belonged at an outdoor festival (Angel Olsen, Joanna Newsom). Perhaps I should have made it to Union Park in time for Trash Talk, I heard their set was crazy.

Music aside, let me comment on the amenities this year. Considering the capacity of Union Park every year, festival organizers have gotten everything at just about the right levels to make things comfortable. The restrooms are plentiful and you’ll never wait too long for one. The food booths offer a wide variety of cuisine for even the most sensitive of palates or dietary restrictions. I had some amazing tacos on Sunday. The return of Goose Island as the provider of alcoholic beverages was an inspired move. The availability of key beers like 312 and Green Line was nice, but even nicer was the special Goose Island booth that had a rotating cast of different beers from the brewer’s catalogue, not to mention two beers crafted exclusively for the festival. I tried both of the fest-exclusive beers, and they were delicious. The singular gripe I have, and it’s basically always been a problem, is with water fountains. Union Park has a distinct lack of water fountains, and therefore the few it does have resulted in long lines. There’s nothing that can really be done about that, but I’ve got to hand it to the volunteer crew at the festival for often walking around with cases of bottled water, handing them out to anybody that wanted one. A lot of people were likely spared a trip to the medical tent as a result of such gestures, though I did see at least a few people go down due to heat exhaustion and dehydration. On the whole, this year’s festival went rather swimmingly, where the sets all started on schedule and the lines were never astronomically or annoyingly huge. It’s a sharp reminder that no matter what the lineup might be, this is one of the best-run music festivals in the country. As I stated in my earlier coverage, Pitchfork Music Festival weekend is my favorite weekend every single year I attend. I wouldn’t be surprised if that were true again by the time we reach the end of 2013.

It always bothers me when things don’t work out according to plan, and the start/end to my Saturday at the 2013 Pitchfork Music Festival was one of those times. In what was supposed to be an early arrival to catch sets from White Lung, Pissed Jeans and Julia Holter, bad traffic turned a short drive into an extraordinarily long one. Thank goodness I finally made it in time for Phosphorescent. Then of course there was the weather. On checking the weekend forecast on Friday afternoon shortly before heading out on Day 1, it said a chance of severe storms on Friday night, then partly cloudy for the rest of the weekend. All was going according to plan until about 9 p.m. on Saturday when it started to pour. Of course it would. Let’s hope the park stays dry enough for Sunday that there’s not mud/sand pits everywhere like last year. As for the music itself, most everything on Saturday was an improvement over the somewhat shaky or mediocre sets on Friday. Let me break things down for you, band by band.

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